Judge — June 26, 1926 — page 22: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

I" Not familiar with [Paris, but the Apache, I suspect, has be- come a stage fiction. Only the other day, to confirm this impression, the newspapers carried an interview with Rene Cassellari, a former police com- missioner of Paris, who says the example of young American crooks has revolutionized the ways of the underworld there. ‘*The odd part of s, “that once we looked ‘s for most of our crimes, but now there is a new school of adepts in criminology, and they are recruited from the better educated and the better dressed element and they are most difficult of apprehend- ing.” But I suppose we shall go on hav- ing pictures like “Paris,” melodrama- tizing the Apache, until he becomes as worn a piece of stage furniture as hi American counterpart, the Bowe tough. For twenty adventurous years now I have dodged traffic all over the metropolis of the New World and have yet to meet the con- ventional Bowery tough in the flesh. Very likely even he, originally, had a kernel of authenticity. But once these types have captured the imagi- nation of the box office, they go on %. ta New Pop—Shush! ®yVilliom Morris Houghton. “The Big Parade" —The war itself. Ben-Hur" —See it for the chariot race. “Sea Beast” —Jack Barrymore, and blubber. "he Black Bird” Moana of the South Seas" filmed on the spot, minus Gilda Gra “The Grand Duchess and the Smooth comedy with Adolph “Mare Nostrum™—War traged “Torrent”—Greta Garbo and sophisticat “La Bohime"—Lillian Gish and Jobn bert enact the old story Lon Chaney in rare form. “Irene” —Colleen Moore and a wardrobe. “The Black Pirate"—Douglas Fairbanks. “First Yea japstick version of Frank Craven's come “The Bat"—Exciting mystery drama. “The Untamed Lady”—Glori shows how unpleasant she can be. “The Barri “The New Klon “The Devil's Circus” The Crown of Lie: i Negri. Bride of the Storm”—Dolores Costello ix escued from a lighthouse. | “The Flaming Prontier"—Custer's Last Stand melodramatized to a fareyouwell ‘Swanson, Florida boom farce. Wartime melodrama. Balkan romance with “The Blind Goddess” —Arthur Train's story with Esther Ralston. ror Heaven's Sake”—Good Harold Lloyd Social Celebrit makes it worth seeing. Norma Talmadge in a bowdlerized dolphe Menjou version. “That's My Baby” —Farce potpourri. The Runaway” —Hill-billy romance. ikinner’s Dres: Brown of Harrard “Hell Bent fer Hearen"”—Ty | melodrama with floo “The Greater Glory —One k rn, The Wilderness. Woman"—Aileen Pringle and Chester Conklin in excellent comedy. Fascinating Youth"—Farce tryout of Para- mount’s junior stars. Aloma of the South Seas”—Gilda Gray and applesauce. Rainmake Disjointed melodrama gags and Raymond UDGING ‘be MOVILS* performing behind the footlights long after their prototypes in real life, or what passed for their prototypes, have evolved into wealthy and re- spectable bootleggers or, as in the case of the Apaches, into art dealers. Much the same is true of their adoring girls—the hard, dowdy little tatterdemalion whom the Bowery tough slaps about, and the lithe, cat- like creature who is constantly court- ing death at the hands of her Apache lover. If they ever existed at all— off stage—they have long since faded into graduate flappers. You can say of “Paris” that it breaks away from the traditional movie formula of beauty and inno- cence rescued in the nick of time by Frank Merriwell. You can say also that it is excellently cast. If there are any Apaches left they would do well to take lessons from Douglas Gilmore, known in the picture as The Cat; and their Apachettes from Joan Crawford, who plays the part of The Cat’s ill-used but excessively loyal sweetheart. And if there are any rich American Johnnies left as idiotic as Jerry, played by Charles Ray, God help them (Continued on page 28) In about an hour, when Toodles wakes up, you may yell for help. comicbooks.com